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Rhythmic analysis of two major composition types (the vilambit gat and madhya lay gat) as played by the Maihar gharana sitarist Deepak Choudhury, illuminates several difficult issues. In particular this analysis clarifies the relationship between these gats and between their performance practices, and the relationships of both to their supposed models in vocal forms. This study suggests wide-ranging applications for rhythmic analysis, in studies of the relationships between the various forms and styles of North Indian classical music, and of the techniques and processes employed in performance. While dependent on an understanding of the rhythmic principles of the music tradition, such studies can go beyond areas traditionally considered to be the domain of rhythm.
|Item Type:||Journal Article|
|Academic Unit/Department:||Arts > Music|
|Depositing User:||Martin Clayton|
|Date Deposited:||09 Jul 2009 10:31|
|Last Modified:||02 Dec 2010 20:34|
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